{"id":24357,"date":"2015-09-09T17:07:54","date_gmt":"2015-09-09T15:07:54","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=24357"},"modified":"2015-09-09T17:07:54","modified_gmt":"2015-09-09T15:07:54","slug":"yvonne-rossignon-o-poeta-din-ardeal","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/yvonne-rossignon-o-poeta-din-ardeal\/","title":{"rendered":"Yvonne Rossignon.  O poet\u0103 din Ardeal"},"content":{"rendered":"<blockquote><p><strong>Yvonne Rossignon, <em>C\u00e2ntec de lumin\u0103 fr\u00e2nt<\/em>, prefa\u0163\u0103 \u015fi edi\u0163ie \u00eengrijit\u0103 de Maria Vaida, Editura Grinta, Cluj, 2015<\/strong><\/p><\/blockquote>\n<p>Aproape necunoscut\u0103 publicului larg de azi, pu\u0163inele comentarii ce se fac, ale istoricilor \u015fi criticilor literari, privind biografia \u015fi crea\u0163ia sa (\u00een dic\u0163ionarele \u015fi istoriile literare recente nu este pomenit\u0103 deloc), privesc exclusiv activitatea \u00een diaspora, Yvonne Rossignon (26 ianuarie 1912 \u201315 ianuarie 2000) este, totu\u015fi, o poet\u0103 care s-a afirmat \u00een Ardeal, \u00een anii de dinaintea celui de Al Doilea R\u0103zboi Mondial, emigr\u00e2nd \u00een Italia \u00een 1940, unde s-a c\u0103s\u0103torit \u015fi a tr\u0103it p\u00e2n\u0103 la sf\u00e2r\u015fitul vie\u0163ii. Poate numele s\u0103u francez s\u0103 fi derutat, unii consider\u00e2nd-o o poet\u0103 str\u0103in\u0103. Tat\u0103l s\u0103u a fost, \u00eentr-adev\u0103r, francez, stabilit \u00een Oltenia ca administrator pe domniile Br\u0103tianu, unde s-a c\u0103s\u0103torit cu o olteanc\u0103, aduc\u00e2nd pe lume \u00een Studina (jude\u0163ul Romana\u0163i) o fiic\u0103, Yvonne, c\u0103reia copil\u0103ria \u00een peisajul natural de mari splendori vegetale \u00eei va marca \u00eentreaga via\u0163\u0103 \u015fi mai ales poezia. A urmat Liceul \u201eDomni\u0163a Ileana\u201c din Sibiu (1926-1930) \u015fi Facultatea de Litere la Cluj (1930-1935), intr\u00e2nd \u00een cenaclul tinerilor scriitori, condus de Victor Papilian, apoi \u00een cel al lui Ion Chinezu. Era firesc deci, ca \u00eenceputurile literare s\u0103 stea sub semnul blagianismului, viziunea panteist\u0103 debord\u00e2nd metaforic \u00een toate poeziile sale (\u201eDoamne, m\u00e2inile \u0163i le-am v\u0103zut \u00een muguri,\/ Adiau peste lutul plin de s\u0103m\u00e2n\u0163\u0103\/ \u015ei culegeau din coarda luminii struguri\u201c \u2013 Denie; \u201eDoamne, te-am \u00eent\u00e2lnit \u00eentre \u0163arini\/ Hodineai sub troi\u0163\u0103\/ \u015ei erai c\u0103run\u0163it de lumin\u0103 \u015fi de m\u0103lini\u201c \u2013 M\u0103rturie; \u201eOchiul Dumnezeului se face rou\u0103\/ \u00cen gene de ierburi tremur\u0103toare\u201c \u2013 Oltenie, etc.).<br \/>\nDebuteaz\u0103 \u00een Abecedar, revist\u0103 ce ap\u0103rea \u00een 1933 la Brad sub conducerea lui Emil Giurgiuca \u015fi George Boldea, urm\u00e2nd apoi revista, mutat\u0103 la Turda, din 1934, sub conducerea lui Teodor Mure\u015fanu, cu titlul nou: Pagini Literare. Public\u0103 \u00een ace\u015fti ani \u015fi \u00een Bra\u015fovul literar \u015fi artistic, sub direc\u0163ia lui Cincinat Pavelescu, iar sporadic \u015fi la alte publica\u0163ii provinciale \u2013 p\u00e2n\u0103 \u00een 1939 (inclusiv), dup\u0103 care numele i se pierde oarecum (ceea ce e o fals\u0103 impresie). \u00cen Italia continu\u0103 s\u0103 scrie, public\u00e2nd \u00een limba italian\u0103 un volum de versuri, La vendemmia di Pan, \u00een 1943. Iar \u00eencep\u00e2nd din 1951 semneaz\u0103 frecvent \u00een publica\u0163iile rom\u00e2ne\u015fti din str\u0103in\u0103tate: Caiete de dor (Paris) apoi din 1962 \u00een Revista Scriitorilor Rom\u00e2ni (M\u00fcnchen). \u00cen 1956 figureaz\u0103 cu un ciclu substan\u0163ial \u00een antologia Poezia rom\u00e2neasc\u0103 nou\u0103, alc\u0103tuit\u0103 de Vintil\u0103 Horia \u015fi publicat\u0103 de \u201eAsocia\u0163ia Hispano-Rom\u00e2n\u0103\u201c la Salaman, al\u0103turi de poe\u0163i ca Horia Stamatu, Nicu Caranica, Alexandru Busuioceanu \u015f.a.<br \/>\nAcum, o harnic\u0103 cercet\u0103toare a (mai cu seam\u0103) spa\u0163iului literar transilv\u0103nean, Maria Vaida, care a realizat consistente monografii consacrate lui Gheorghe Pitu\u0163 (2009) \u015fi\u00a0 Lucre\u0163ia Suciu (2010), \u00eei adun\u0103 \u00eentr-un prim volum \u00een limba rom\u00e2n\u0103, C\u00e2ntec de lumin\u0103 fr\u00e2nt, aproape toate poeziile publicate \u00eencep\u00e2nd din 1933 \u015fi p\u00e2n\u0103 la sf\u00e2r\u015fitul vie\u0163ii (inclusiv, \u00een traducere proprie, poeziile din volumul italian), d\u00e2nd astfel posibilitatea cunoa\u015fterii \u015fi integr\u0103rii poetei Yvonne Rossignon \u00een corpusul general al literaturii rom\u00e2ne.<br \/>\nPoezia din anii \u00eenceputurilor este profund marcat\u0103 de voluptatea tr\u0103irii \u00eentr-o natur\u0103 vivant\u0103, opulent\u0103 \u00een felul ei, cu care se confund\u0103, vibr\u00e2nd emo\u0163ional \u00een ritmul rotirii anotimpurilor, \u00eentr-o gesticula\u0163ie pasional\u0103, exuberant\u0103, \u00eentr-o contopire intim\u0103 cu peisajul vegetal campestru:\u201ecire\u015fii mi-au \u00eenflorit pe trup.\/ Crengile c\u00e2nd de floare se rup,\/ \u00cemi c\u00e2nt\u0103 \u00een carne glasuri mici de salbe.\/ Nu mai v\u0103d nici toamnelor ciorchinii;\/ Port pe umeri vrejuri grele de rod,\/ Pletele sorite c\u00e2nd mi le desnod\/ Sunt str\u0103vezii cum strugurii luminii,\/ \u00cen ape-mi \u00eemp\u00e2nzesc n\u0103voadele genelor,\/ S\u0103-mi prind\u0103 umbra \u015fi s\u0103 mi-o apropii\u201c (Narcis). Tr\u0103ie\u015fte astfel ritualic miraculoasa, mirifica prezen\u0163\u0103 a firii cople\u015fitoare, de care se uime\u015fte \u00een\u0103l\u0163\u00e2ndu-se prin ea \u015fi odat\u0103 cu ea \u00eentr-o frenezie existen\u0163ial\u0103 primordial\u0103: \u201eAud pa\u015fii fluturilor cu aripi de umbr\u0103 albastr\u0103, pe tivul florii de cire\u015f.\/ \u015ei m\u0103 \u00eentreb unde se duc?\/ Fluturii s-au desprins de p\u0103m\u00e2nt \u015fi \u015fi-au uitat inelul nun\u0163ii\/ pe-o mlad\u0103 de prun, s\u0103 le puiasc\u0103 sorele s\u0103m\u00e2n\u0163a.\/ Aud plutirea p\u0103s\u0103rilor scuturate din poala p\u0103durii: le-au r\u0103mas\/ \u00een aripi t\u0103cerile c\u0103runte ale mesteac\u0103nului;\/ \u015fi m\u0103 \u00eentreb unde se duc?\/ Unde se duc?\/ Deasupra mea s-a aplecat un fir de iarb\u0103, ca un arc, cu o floare str\u0103vezie\/ \u00een care g\u00e2lg\u00e2ie polen \u015fi miere\u201c (Cantic\u0103). \u00cen totul vede \u00eens\u0103 o natur\u0103 ce are transfigurate \u00een \u00eens\u0103\u015fi fiin\u0163area sa, duhul divinit\u0103\u0163ii: \u201eLa geamuri torc motanii suri, de ploaie,\/ \u015ei se topesc poleiuri de lumin\u0103;\/ Spin\u0103rile aripate \u00ee\u015fi \u00eendoaie\/ Arhanghelii copaci peste gr\u0103din\u0103\u201c (Interior de toamn\u0103). Imagistica e mereu \u00eemprosp\u0103tat\u0103 de o bogat\u0103 detaliere a frumuse\u0163ilor unui peisaj ce nu este at\u00e2t contemplat c\u00e2t tr\u0103it \u00een sine. Nu altfel se creeaz\u0103 emo\u0163ia iubirii, c\u00e2nd sentimentul dragostei se dezvolt\u0103 cople\u015fitor din tocmai aceast\u0103 asumare a vitalit\u0103\u0163ii naturii ambiante: \u201eVin l\u00e2ng\u0103 tine, ca umbra l\u00e2ng\u0103 pom,\/ S\u0103-\u0163i leg r\u0103nile crude, de om.\/ Vino s\u0103-\u0163i a\u015ftern \u00een casa mea,\/ La geamuri pecetluite cu stea;\/ La masa mea holdele-n blid s\u0103-\u0163i pun.\/ Vin l\u00e2ng\u0103 tine, cum lumina spre zi\/ S\u0103 te-nf\u0103\u015f cu mine, oricine ai fi\u201c (Ascultarea aproapelui c\u0103l\u0103tor). \u00cen aceast\u0103 sinceritate exprimat\u0103 frust, Yvonne Rossignon se apropie, ca decantare liric\u0103 a universului vibrant, \u00een tr\u0103iri primare, de poezia Magdei Isanos.<br \/>\nFiresc, poezia prime\u015fte treptat o \u00eenc\u0103rc\u0103tur\u0103 religioas\u0103, nu numaidec\u00e2t mistic\u0103, dar reflexia metafizic\u0103 se transleaz\u0103 \u00een caden\u0163ele dramatice ale rug\u0103ciunii \u015fi psalmilor, purt\u00e2nd o nelini\u015ftit\u0103 adula\u0163ie existen\u0163ial\u0103: \u201eDoamne, nimic nu mi-ai dat care s\u0103 fie numai al meu.\/ Nici m\u00e2inile mele, nici picioarele mele nu-s ale mele\/ \u015ei tot ce spun e spus \u00een mintea mea de Dumnezeu.\/ Iar ochii ace\u015ftia ai mei care-ncap soarele\/ Sunt tot privirile Tale.\/ A mea e doar nelini\u015ftea \u015fi \u00eendoiala, \u015fi pl\u00e2nsul \u015fi triste\u0163ile\/ C\u0103 v\u0103d cum trec prin moarte toate ale Tale. \u015ei nu \u00een\u0163eleg.\/ Atunci, de-s ale tale toate c\u00e2te sunt, de ce le spulberi\/ \u015ei de ce-\u0162i ucizi f\u0103ptura-n toate?\/ De ce Te-ar\u0103\u0163i \u015fi de ce Te-ntorci \u00een p\u0103m\u00e2nt?\u201c (\u00cendoial\u0103). \u00cen aceast\u0103 identificare cu firea \u00eendumnezeit\u0103, \u00ee\u015fi vede rostul de-acum \u00eemplinit: \u201eA\u015feaz\u0103-m\u0103 \u00eentre frunzele tale,\/ \u015ei m\u0103 odihne\u015fte \u00eentre r\u0103d\u0103cini;\/ Prelunge\u015fte-m\u0103 \u00een vie\u0163i vegetale\/ \u015ei-n fructe de lumin\u0103 \u00een gr\u0103dini (&#8230;) Mi-am \u00eemplinit ursita deplin;\/ Am dus cre\u015ftine\u015fte poverile\/ F\u0103r\u0103 s\u0103 c\u00e2rtesc \u015fi s\u0103 m\u0103-nchin\/ Cum \u0163i-au fost cu mine vrerile\u201c (Ciclu \u00eencheiat).<br \/>\nPoeziile perioadei italiene sunt marcate de o pr\u0103bu\u015fire \u00een sine; sunt mai aride, mai cerebrale; e o poezia de nota\u0163ie, utiliz\u00e2nd acelea\u015fi culori de pastel (\u201eUrsa \u2013 norilor\/ cu prisaca lunii mai\/ printre labe fuge prin t\u0103cute\/ aeriene \u015fi r\u0103coroase c\u0103i;\/ \u00een jur se \u00eenv\u00e2rtesc albine\/ stelare. Picur\u0103 prea dulcea lumin\u0103\/ de miere peste paji\u015ftile sale\u201c \u2013 Noapte de mai), dar predominant\u0103 e starea de reflec\u0163ie asupra sensurilor tr\u0103irii; reculegerea se proiecteaz\u0103 asupra vremurilor \u015fi a unei existen\u0163e lipsite de sens: \u201eSingur\u0103tatea mea este prea mare\/ pentru a fi doar a mea:\/ uneori \u00eemi pare c\u0103 se \u00eemparte\/ \u00een mii de vie\u0163i ale altora.\/ Singur\u0103tatea mea e mare\/ \u015fi s\u0103r\u0103c\u0103cios mobilat\u0103\/ precum o camer\u0103 \u00een care r\u0103m\u00e2i\/ ve\u015fnic un c\u0103l\u0103tor\u201c (Singur\u0103tate).<br \/>\nCrea\u0163iile lirice din diaspora, scrise \u00een limba rom\u00e2n\u0103, au o altfel de triste\u0163e, aceea a \u00eenstr\u0103in\u0103rii, a pustiului pe care \u00eel simte imens \u00een jur \u2013 o melancolie, dac\u0103 vre\u0163i, a dep\u0103rt\u0103rii de peisajul naturii natale, poate a dep\u0103rt\u0103rii de sine \u00eens\u0103\u015fi: \u201eDoamne, dep\u0103rt\u0103rile&#8230;\/ necunoscute, \u00een\u015fel\u0103toarele dep\u0103rt\u0103ri\/ care ispitesc sufletul\/ ca pe frunze, ca pe cocori, toamna.\/ Eu \u015ftiu c\u0103 dincolo de pragul acesta\/ de colinele pustii, de zile scrumite\/ ale dep\u0103rt\u0103rii se deschid,\/ alte pustiet\u0103\u0163i,\/ alte cet\u0103\u0163i peste care planeaz\u0103 nelini\u015ftit\u0103\/ \u015fi lacom\u0103 umbra corbilor \u015fi t\u0103cerea. T\u0103cerea\u201c (Doamne, dep\u0103rt\u0103rile&#8230;). Ileana Corbea surprinde \u00een esen\u0163a ei aceast\u0103 poezie, de-acum plin\u0103 de dramatism: \u201ePoeta se las\u0103 adesea cuprins\u0103 de T\u0103ceri noi, determinat\u0103 permanent \u00een exil de sentimentul parcurgerii unui timp al disolu\u0163iei\u201c (Lecturi tardive, \u00een Jurnalul literar, nr. 1-6, ian.-mart. 2012).<br \/>\n\u00cen \u00eencheierea acestor fugare consemn\u0103ri pe marginea unui debut editorial tardiv, postum \u015fi de aceea surprinz\u0103tor poate pentru mul\u0163i, mi se par \u00eentru totul potrivite cuvintele Monic\u0103i Lovinescu din Memoriile sale:\u201eYvonne Rossignon se odihne\u015fte acum \u00eentr-un cimitir din Roma. Mai r\u0103m\u00e2ne s\u0103-i facem loc \u015fi \u00een literatura rom\u00e2n\u0103\u201c.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yvonne Rossignon, C\u00e2ntec de lumin\u0103 fr\u00e2nt, prefa\u0163\u0103 \u015fi edi\u0163ie \u00eengrijit\u0103 de Maria Vaida, Editura Grinta, Cluj, 2015 Aproape necunoscut\u0103 publicului larg de azi, pu\u0163inele comentarii ce se fac, ale istoricilor \u015fi criticilor literari, privind biografia \u015fi crea\u0163ia sa (\u00een dic\u0163ionarele \u015fi istoriile literare recente nu este pomenit\u0103 deloc), privesc exclusiv activitatea \u00een diaspora, Yvonne Rossignon&hellip;&nbsp;<a href=\"https:\/\/revistacultura.ro\/nou\/yvonne-rossignon-o-poeta-din-ardeal\/\" rel=\"bookmark\">Cite\u0219te mai mult &raquo;<span class=\"screen-reader-text\">Yvonne Rossignon.  O poet\u0103 din Ardeal<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[15051,15050],"class_list":["post-24357","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-cantec-de-lumina-frant","tag-yvonne-rossignon"],"views":2501,"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24357","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/comments?post=24357"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24357\/revisions"}],"predecessor-version":[{"id":24358,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24357\/revisions\/24358"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=24357"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=24357"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=24357"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}